3D LED printer makes a contact lens display possible

By breaking the concept of an LED down to its most basic form, the researchers saw that they needn’t think of LEDs as little domed plastic lightbulbs, but simple stacks of interacting material. This printer can lay down an LED with a sandwich structure that’s not unlike any single pixel in an OLED display — you’ve got an emissive layer (in this case nanoparticles of cadmium selenide generally referred to as quantum dots) sandwiched between one layer that can donate electrons and one layer that can accept them. The whole thing can be fused to a surface thanks to the bottom adhesive layer, which is activated with UV light. Best of all, these printed LEDs are ultra-thin, flexible, and almost totally transparent!

3D LED printer makes a contact lens display possible

By breaking the concept of an LED down to its most basic form, the researchers saw that they needn’t think of LEDs as little domed plastic lightbulbs, but simple stacks of interacting material. This printer can lay down an LED with a sandwich structure that’s not unlike any single pixel in an OLED display — you’ve got an emissive layer (in this case nanoparticles of cadmium selenide generally referred to as quantum dots) sandwiched between one layer that can donate electrons and one layer that can accept them. The whole thing can be fused to a surface thanks to the bottom adhesive layer, which is activated with UV light. Best of all, these printed LEDs are ultra-thin, flexible, and almost totally transparent!

*That was a pretty good analysis from a dozen years ago, and now it explains why “fiction” about cyberpunk is irrelevant. It’s no longer ”aesthetic vision,” it’s everyday lived experience. Cyberpunk and Empire
Istvan Csicsery-Ronay, Jr. DePauw University/ Science Fiction Studies (…) Nonetheless, I think we can safely identify certain aspects of cyberpunk’s aesthetic vision common to all its examples.
1) “No Future” (the punk in cyberpunk) – the sense of a collapsed future, i.e., the replacement of progressive modernism’s sense of constant material and social improvement by the sense of a failed project, leaving behind ruined infrastructures as its Ozymandian monuments;
2) the replacement of national sovereignty and class consciousness by technically sophisticated, but ethically savage, private, capitalist corporations and cartels, which dissolve social protections and rule of law, while encouraging the ruthless black- marketization of high technologies;
3) the attendant involution of all political power, and with it, the abandonment of all social centrality – hence the tolerance for poverty and decay of social institutions, law, traditional concepts of human dignity, and collective purpose;
4) the street finding its own uses for things – the proliferation of diverse fractal societies and cultures relatively free to construct their own social contracts under the radar of dominant institutions, politically powerless and hence unconstrained by normativity, but potentially destabilizing of the infrastructure of dominance because of their various technical “hacks”;
5) posthuman evolution – the morally unfettered proliferation of technologies (especially cybernetic and biotechnical prostheses) into areas traditionally considered sacrosanct, and, as a result, the gradual transformation of all natural phenomena into artificial ones constructed by human or cybernetic agents.
These might well be considered the characteristics of postmodern Empire. (…)

If we were talking about the murder of my child, I would not be dignified. I would be naked and hideous with my grief. I would rage. If I were murdered in such a manner, I would want people to rage on my behalf. I would want to be remembered loudly, with fire. Such visible outrage could be its own kind of grace.

The 28 by 24 foot frameless LED wall has captivated visitors and inspired hundreds of instagrams and tweets. This extraordinary digital simulation of a Nevada solar power plant changes in real time throughout the course of the exhibition, so that each image captured by the public represents a unique moment. The constantly changing work pictures a central tower surrounded by 10,000 mirrors that adjust their positions according to the location of the sun.

When the developer Richard Hofmeier won the grand prize at the Independent Games Festival that year for Cart Life, he celebrated his win by spray painting the words “HOWLING DOGS” across his booth, replacing his game with hers and telling people to play it. “I don’t want to say that it’s fun or I love it — it’s instilled me with what I call ‘holy dread,’ ” Hofmeier said in an interview after the festival. “It’s a very special kind of territory. Pragmatic, mechanical games can’t touch that kind of territory.”

This theme of interdependence is central to Iñupiat stories, no doubt born of the need to help one another in order to survive the harsh Alaskan conditions. It’s a message Never Alone seeks to impart through both its spoken narration (which has been recorded in Iñupiat) and the unspoken story communicated by its rules and mechanics.